New Kid on the Block: Review of Starred Up

British prison drama are not a common breed of film, but when they are delivered to us, they are forever brutal and uncomfortable viewing. But as Morgan Freeman once narrated “Prison is no fairytale world!” and as movies such as Allan Clark’s 1979 movie Scum demonstrated to us the full horrors of the system and just what inmates are capable of doing behind bars. This year, director David Mackenzie has brought one of the most promising British drama’s in quite some time, about a young man making an early (and very violent) first impression in jail- but this also promised not to be viewing for the faint hearted in his movie, Starred Up.

Young offender Eric Love (Jack O’Connell) is transferred to adult prison from Juvenile Detention, but rather than getting his head down and doing his time quietly- Eric quickly gets into trouble and starts to get a vicious reputation among felons. Despite the best efforts of shrink Oliver (Rupert Friend), the young man refuses to listen to advice. His father Neville (Ben Mendelsohn) is one of the longest serving convicts on the wing, can he get through to his son before it is all too late?

Starred Up is a wonderfully intense and very tenacious prison film which pulges the audience head first into a place of true hell, where violence talks and words fall silent. From the opening sequence, we can see that Eric is going to be a tough customer with his hardened stare and frosty attitude as he is put through the ritual demoralizing prison entrance, behind his eyes is an anger quietly simmering and it doesnt take long to become unleashed and when it does, it is hair-raisingly terrifying! As we watch him cackling with insane joy after his first assault, we feel the face of rebellion is staring at us.

Throughout Mackenzie’s film, it is made clear that Eric is a young man at war with the world and all who occupy it, also he seems able to create mayhem from the most unlike item such as a light bulb, razorblade and a toothbrush- you don’t need a picture to guess what happens next! Volunteer councellor Oliver attempts to stratch the surface of his problems and try and break through his sneers and callous attitude, but Eric is a brick wall to all efforts of psychology. His dad Neville attempts stronger words with his son and makes futile attempts to push him the right way, soon a rather unlikely relationship appears but it still bares a heavy fracture due to past unspoken events.

Refreshingly for a prison movie, there is no trace or redeeming themes of life changing friendships and Mackenzie succeeds in painting a frightenly realistic protayal of prison life. Eric is driving straight into a heap of problems and even though his surrogate brothers in therapy have his best interests at heart, he only succeeds in pushing all who care or wish to help away. Soon there will be no one to aid his cause when the going gets tough! There are some un-neccessary plot divertions, but the central plot is gripping enough to keep us focused throughout.

Jack O’Connell is the driving force of the movie and gives a breakout performance of such raw vigor it is almost uncomfortable to watch! Already an established talent in movies like Harry Brown and as Bobby Charlton in BBC program United, O’Connell is a revalation here and impressively he gives Eric an almost likeable quality in stretches which is noteworthy for a character like this!

Rupert Friend also rings a strong supporting turn as Oliver and gives the perfect impression of a frustrated man trying in vain to make a different but is unwanted by the prison system. Australian actor Ben Mendelsohn is equally brilliant as father Neville, a tough and vigilant man who isn’t afraid to bust heads for his son- ironically the perfect father on the inside but is also aware of his failings in early life that have more than likely led to his son being in the same place!

With its gritty edge and continually tense air, Starred Up is far and away the most impressive British film so far this year and with the talent on display, this could potentially be one of the years best movies. Jack O’Connell is a young man who has now earned a Hollywood shot and likewise David Mackenzie could be going places. But more than anything, there probably won’t be a more awkward family reunion than this one!

 

Song of the South: Review of Django Unchained

Django Unchained

Director: Quentin Tarantino

By Alex Watson

As a director Quentin Tarantino may not be to everyone’s taste but his cult status in the film making world is un-deniable and whenever one of his films hits cinema’s the world sits up and pays attention. His casual mix of humour with extreme violence is a trademark that is instantly recognisable and love or hate has brought us some very memorable moments over the last 20 years. With his new effort Django Unchained, QT brings us into Deep South and shows one man’s struggle to break free, but will his usual style suit this tale or will this prove a step too far?

Set in 1858, bounty hunter Dr King Schultz (Christoph Waltz) rescues slave Django (Jamie Foxx) from a group of slave traders in order to assist him in tracking down three outlaw brothers. After they carry out their arrangement, the two agree to become partners and soon make a lucrative earning in the killing business. But Django’s wife Hildy (Kerry Washington) still ways heavily on his mind and together the two vow to rescue her from the clutches of plantation owner Calvin Candie (Leonardo DiCaprio).

Django Unchained will fit very well into the Tarantino Empire and fans will be delighted to know that his distinctive style is all present and correct and the results are deliriously entertaining! The story of a slave vowing to revenge at the world fits QT like a glove and from the very beginning there is an air of menacing relish about it and it shows in the dialogue, such as when Django shoots one of his former tormentors, as the man falls, Django silkily says “I like the way you die boy!” Tarantino’s dialogue has many zingers included and as usual there will a ton of quotable lines that will follow after!

The bonding between Schultz and Django provide the movie’s main interest, as the aforementioned Doctor swaggers into the story and almost smugly introduces himself before blowing holes in two men to save Django, we know that he is something truly unusual! As the relationship between them develops, Schultz sees a real hero in Django and strives to help on his mission. In the presence of Schultz, Django will find a newer and more dangerous side which will aid him well at the movies conclusion.

But it’s Calvin Candie that gives the movie its most excellent creation and his presence is forever felt on screen. Here we have a spoiled man-child with far too much power on his hands who is forever complimented by those around him because they know that lurking beneath the pleasant and smiling facade hides a monstrous creature that is prone violent outbursts which will have horrific consequences!

Although the long running time does weigh on the film slightly, the action involved certainly doesn’t and it makes way for possibly the most OTT shoot out finale of the year and has as the buckets of claret cover the walls there is an almost cartoonish type feel, many may feel that the ending of Inglorious Basterds set the bar in terms of Tarantino violence, but this ending here has raised it even higher!

Jamie Foxx looks the part of Django and carries if off with equal force and his whispering voice adds an extra threat, especially in the moment after he spells his name and mentions “The D is silent!” Foxx has proven to be a great choice he gives his best performance since his Oscar winning turn in Ray. But Django Unchained belongs to Christoph Waltz’s charismatic performance as King Schultz which proves just as wordy as his turn as Hans Lander in Inglorious Basterds and once again Waltz succeeds in stealing the film. Seems QT has found a new muse for him films and I imagine everyone is very excited!

Leonardo DiCaprio makes the perfect villain and his magnificent and almost childish turn as Calvin may seem clichéd but I can guarantee it will be one DiCaprio must remembered performances and shows what a skilful villain he could make in future. Samuel L Jackson provides some the movies main laughs as house slave Stephen who is comically appalled by the idea of Django staying in “The big white house” when arrives at the Candieland plantation and together with DiCaprio the two make a great pairing as they bicker constantly with one another.

In Django Unchained it seems that all Tarantino’s fan will go away happy, though some critics might snipe at the overuse of violence and the film perhaps being a little too long, its entertainment factor cannot be denied and will contain some of this year’s most exciting and hilarious scenes and some truly excellent performances. This film will no doubt gain the same cult appeal as all his previous efforts and on this occasion- it is well deserved!

Hooray! It’s a Holiday: Review of Sightseers

EXCLUSIVE

Sightseers

Director: Ben Wheatley

By Alex Watson

When people think of a typical serial killer film, they tend of think of it being a very grizzly and unpleasant experience where there will be bullets and blood by the bucket load. But no one ever think that it could be in the least bit funny and that humour can be found in even the most bizarre circumstance. This week we turn to Ben Wheatley’s follow up to his already cult classic Kill List, where he gives us a very British view on murder mixed with a caravan holiday in Sightseers. This week I was privileged to catch an exclusive screening at the Cornerhouse Cinema in Manchester!

Tina (Alice Lowe) lives with her domineering mother who still blames her for the death of their beloved dog Poppy. Desperate for an adventure and to escape her mother’s grasp, Tina takes off on a romance caravan holiday with her new boyfriend Chris (Steve Oram). As the pair views the countryside, a darker side to her man appears and very soon a series of nasty deaths will take place with various tourists who ‘ruin their holiday’ all the while testing the relationship.

Sightseers is a film of rare quality and it is brought to life through the brilliant direction by Ben Wheatley and the script by stars Lowe and Oram shines brightly! Through its very unusual premise, the laughs keep coming by the bucketful. But it’s the casual depict of violence that makes this film really shine. However, it’s the fact they are merely killing people who have annoyed them is such minor ways which provides the laughs. In particular when Chris bludgeons a man to death after he ticks them off for not picking up their dogs ‘excrement’ he justifies his bloody demise with “He’s not human… he’s a Daily Mail reader!”

At its centre, there is a very British feel to it as the pair visits such odd tourist spots as the Crich Tramway museum and Ribblehead Viaduct. With its road trip feel and a female who is desensitised to violence, this is almost like the British version of Badlands!

But like Wheatley’s predecessor Kill List, the film also possesses a surreal edge to it and this is exemplified in a quite disturbing dream sequence where Chris chases after a woman in white which then hints at some potentially life changing events. It almost seems like the after events of the ending of Kill List. When the death scenes come they are indeed shocking and often gruesomely played out, but there is such a gleeful and upbeat feel to them which gives these moments a

The development of Chris and Tina as a couple gives Sightseers its beating heart. Tina is a woman who is trapped in life by her bulling mother (who openly tells her she was accident!) and at first she seems to relish the freedom. But even in the face of the terrible deeds that Chris does, she seems to be drawn to it. The parallels between the two are what draw us to them; Chris simply wants his perfect holiday to run on schedule and tends to lose his rag when people spoil it. Tina’s character goes from simply hitching a ride, to stacking up a body count of her own!

As the pair nitpick about their attempts to outdo one another it provides for some classic British film moments because these two are like so many couple’s we have met while camping and after this we will always be suspicious of who we let in our caravans! Though their ending will divide viewer because much like the end of Kill List- more questions remain!

Oram and Lowe make for a compelling pairing in Wheatley’s film and their unusual chemistry stands out. Already well known on the comedy circuit, the two use their skills to give us one of the best and most humorous scripts of the year. Hopefully we will see them on the BAFTA list come next year!

I cannot praise this film highly enough and I can simply finish by saying- Please See This Movie! Ben Wheatley is one of the most offbeat directors that Britain has and we can only wonder what he has in store for us next, Sightseers is probably the best British film we will see all year will also be the most unusual yet painfully experiences you will ever have in cinema. Remember when going on a road trip, always pick up your litter because you never know who may be paying attention!

The Marked Man: Review of Get Carter

Classic from the Vault

Get Carter (1971)

Director: Mike Hodges

By Alex Watson

Michael Caine is an icon of British cinema for a number of reasons, firstly he has a presence that cannot be denied and through this is able to bring any number of possible scenarios to any one scene he plays. Secondly although his notorious cockney accent might have been mocked consistently through the years it gives him a trademark and as a result it gives his dialogue a bite. Add these elements together and you get the king of cool for British cinema! His talents were never better showcased than in Mike Hodges grim yet suspenseful classic, Get Carter.

When his brother dies in mysterious circumstances in Newcastle, London based hit-man Jack Carter returns to the North to investigate. While there he realizes his brother had become deeply involved with seedy underworld. Although several hardened criminals warn Carter to go no further, he eventually battles his way to the truth- but not before finding out many unpleasant truths about his brothers past!

Get Carter is one the most absorbing thrillers you are likely to find and in this day and age its effect still has not warn off. From the very moment Carter steps off the train in the North East you can feel the feathers already begin to ruffle! Even in the face of many tough gangsters, Carter makes mincemeat of them without breaking a sweat and all the way through we are wondering what his next step will be?

But his most impressive quality is complete lack of emotion towards the sad set of circumstances he has been dealt with. All throughout Carter shows contempt towards all, viewing everyone as a nuisance for getting in his way to the truth and readily killing them without a hint of regret. Women in particular have no place in the life of Carter and he sees them merely as disposable objects. In particular, his seedy phone call to his boss’s girlfriend, Anna (Britt Ekland). Carter is a very unique character because for the most part he very unlikeable and seems at no point to want the audience to warm to him. But through his mission to avenge his brother’s death, we find ourselves rooting for him all the way.

The most surprising thing about Get Carter is that it is a very different kind of gangster thriller than we have come accustom to in years gone by. There are no wise cracks present and throughout the humour element stays absent from the screen. Though there is violence a plenty, Hodges forgoes the buckets of fake blood and focuses more on psychological effect of this violence. What we are left with an experience that is border-line unpleasant in places, but it succeeds in building up the tension for the brutal finale!

Setting the movie in Newcastle gives the picture a grim overtone and through the rainy scenery it adds to the gritty edge. But on although it looks normal on the surface, the deeper that Carter delves the stranger this place becomes, almost like lifting a rock from the earth and seeing what’s underneath. But the films end a more abnormal place has been uncovered and in the end we fear that this could become a similar world to The Wicker Man?

Get Carter is by far Michael Caine’s picture and he holds the screen with an ice cold coolness that has yet to be truly equalled in this kind of film! All through the picture Caine gives a straight depiction of a man out for blood and will get it by any mean, this lack of emotional complex serves Get Carter well and ensures its classic status!

Apart from Caine, few others get a look in, although there are great turns from play-write John Osbourne as crime boss Kinnear and an outstanding debut from veteran Geordie actor Alun Armstrong as Keith, a boy obsessed with Carter and who will do anything to help him, but really shouldn’t expect any thanks for his troubles!

Shamefully Hodges picture was re-made in 2000 starring Sylvester Stallone (although Caine still appeared) and was un-surprisingly ripped to shreds! But that one mistake aside, Get Carter is a true legend of British cinema and deservedly so and through Caine’s star power it makes it essential viewing for any fan of this genre. Whether or not you like Carter as a person will depend on you but bear one thing in mind- he’s probably very upset! And it’s best not to trample on a man who’s down, seriously!

Worlds Will Collide: The Crying Game Review

Classic From The Vault

The Crying Game (1992)

Director: Neil Jordan

By Alex Watson

What makes a truly great twist in a movie? Well the answer is simple, it has to be one that comes completely out of left field and leaves the audience with their jaws hanging wide open. There have been some truly great examples of this in recent years such as shock revelation of Bruce Willis’ character in The Sixth Sense or the notice board in The Usual Suspects. But no twist has been more shocking than in Irish director Neil Jordan’s masterpiece thriller- The Crying Game, a film which gave us a very different kind of romance.

Jordan’s film follows the exploits of Fergus (Stephan Rea) who is an IRA volunteer who along with his lover Jude (Miranda Richardson) assists in the kidnapping of British soldier Jody (Forest Whittaker). In the coming days Jody and Fergus become closer and an awkward friendship is formed. But then Fergus is called to shoot Jody soon after, before he does Jody asks Fergus back to London and take care of his girlfriend Dil (Jaye Davidson). After a British ambush whips out most of his companions, Fergus flees to London and finds Dil, only to end up falling in love! Very soon his past catches up with him and some tough choices are ahead.

The Crying Game is a rare gem of a film because it has more than just a love story and even if you already know the major twist that made this film famous; this is still an amazing viewing.  From the very start Dil sparks our interest and when we first meet her we realize that she is exactly as exotic as Jody as made out. But when we discover more about her, the illusion shatters before us! This kind of twist is one of the true greats and through Neil Jordan’s stunning script, it comes to life!

Love between two worlds is a one the big themes involved in Jordan’s film; Fergus as a man with a history of violence is at first racked with guilt over his involvement over Jody’s demise and feels even worse about his blossoming romance with Dil. After an early strain is put on their relationship, the pair is still very much attracted to each other and through this they are able to put their differences to one side and begin to love each other. Jody presence however still lurks in the background and Fergus is haunted by persistent dreams of him and is still trying to find the words to tell Dil what happened in Ireland!

Aside from the romance, The Crying Game has a suspense to it that is very claustrophobic and there is a sense that Fergus’ past isn’t completely dead. When it does surface, there are ripples in the water as Fergus is forced by Jude to partake in the assassination of a high ranking official to try and secure freedom for IRA prisoners. Fergus has put his old life behind him, but knows he will have to pay the cost to keep his love safe.

Stephen Rea gives a magnificent and complex performance as the haunted Fergus and as the film goes on we hope that he finds redemption for his actions. Through Rea’s everyman quality, this adds to Fergus’ likeability and ensures he holds a place in the audience’s heart. He is joined by Miranda Richardson who gives great support as the fiery and steadfast Jude. But The Crying Game belongs to Jaye Davidson who gives a fascinating turn as the mysterious Dil, as mentioned before her presence is wondered about from the very beginning and through Davidson’s great performance this is added to throughout the film-  especially when her past is revealed! Sadly Davidson only acted once more after this; a real presence in cinema was lost as a result!

The contents of the twist may have become public knowledge through constant pop culture references, but even in the face of that it is still as shocking as when it was first revealed! Neil Jordan’s film is one which will stick in your mind for weeks afterward and will always rate as one of Hollywood’s great thrillers. It will also demonstrate that love is powerful, no matter who you fall for!

Caught in the Crossfire: Review of The Flowers of War

The Flowers of War

Director: Zhang Yimou

By Alex Watson

Chinese director Zhang Yimou has delivered us some of the most beautifully shot cinema of the past decade, film such as the lush and colourful Hero which contains some of the most astounding imagery ever capture on celluloid and the equally impressive House of Flying Daggers which featured the well known ‘Echo Game’ scene which proved truly heart stopping! Already well established to western audiences, Yimou this week bring us his own vision of the Japanese invasion of Nanking, China in his new film, The Flowers of War.

John Miller (Christian Bale) is an American mortician who has arrived in Nanking, China but as he does he quickly realizes the Japanese have begun an invasion. At first a drunken opportunist who has come to make money of burying an old priest, Miller is soon forced to take refuge inside a Catholic Cathedral. Very soon he is forced to become a protector of the young girls who preside within the compounds and to do this he pretends to the Japanese that he is the residing priest! As he bonds with the students, Miller is also faced with some difficult choices ahead!

The Flowers of War is very unlike many Zhang Yimou films before it, there are many memorable images in this film of course, but there are also many which show just how savage ‘The Rape of Nanking’ was by the Japanese. The battle sequences are rousing and Yimou films them expertly. Particular when the lone soldier left in Nanking, Major Li (Tong Dawei) takes on a group of Japanese soldiers single handed. The vain efforts of the Chinese justify the horrific situation they are faced with, and when the last line disappears we realise that Miller is truly on his own here!

Redemption is a big theme surrounding Yimou’s film, when we first John Miller the man is frankly- a jerk! He is in this hellish place solely for monetary gain and openly confesses that he drinks at any opportunity. But as he sobers up, his eyes are opened to the true horrors surrounding him! It is in this sequence where Miller realizes that he can make a difference and through this a deep bond is formed with the girls who begin to refer to him as ‘Father John’ and his former shadowy self begins to be redeemed!

Another vital subplot involves the arrival of fourteen flamboyant prostitutes who take shelter inside the cathedral. The initially involvement is an annoyance to the young girls, but it gives the story a massive strength! The hookers with the hearts of gold are a notion that has been well covered in cinema previously, but it’s the presence of their de-facto leader Yu Mo (Ni Ni) that makes it different. Yu Mo provides the stability and strong female presence that is needed for the group and her blossoming romance with Miller is one of the movie’s most touching elements.

In many ways it is a shame that The Flowers of War has received such a limited release in the United Kingdom because it is one of the most heart wrenching films we are likely to find this year. Zhang Yimou’s film has an entire spectrum of emotion to it and this is the movies principle strength because we never know what are going to feel next. And as we leave the cinema this feeling stays with us and we just sense that this film will hang on our minds for days to come.

The ever present man of cinema this year, Christian Bale rings in another brilliant central turn as Miller. Some might sneer at his characters change of persona and call it a clique. But it really doesn’t matter as Bale is truly magnificent and gives us one of the emotionally driven performances of the year! His Miller may be unlikable at first, but war can change people in ways we can’t imagine!

But its debutant Ni Ni that makes the strongest impression as Yu Mo; and her beauty is only matched by her charm. But she isn’t just all looks; Ni Ni also brings gentleness to her role that makes her essential to the story.  This is one career we shall watch with interest and it appears Yimou has found his next Gong Li!

This is another giant step towards a western production by Zhang Yimou, and I truly hope this comes to fruition because he is possibly the most stunning visual director in Asian cinema today. The Flowers of War is a very brutal yet extremely beautiful film that will leave a lasting impression for a long time! Shame on you Oscar for ignoring this and next time Yimou comes around you better pay closer attention!

Place Your Bets: Jackpot Review

Jackpot

Director: Magnus Martens

By Alex Watson

Earlier this year I gave a review of the adaptation of Jo Nesbo’s slick thriller, Headhunters; a film that gave us a deception of the ultimate price of maintaining the perfect life. This week we turn to Norweigen writer’s second outing in cinema with Jackpot. Here expect the gloss of Headhunters to vanish swiftly as we are dragged into the Scandinavian underworld. Expect violence, double crossing and extreme psychopaths! Oh and I forget to mention Christmas is around the corner too!

Sat in a Norwegian police station, Oscar (Kyrre Hellum) has to explain to a disgusted officer how he has ended up as the sole survivor in a brutal shootout in a Swedish strip club! Working as a foreman in a factory that employs mainly ex cons, Oscar had gone in with criminals Billy (Arthur Berning) and Thor (Mads Ousdal) on a soccer bet to win big bucks. But upon claiming their winnings a series of unfortunate events will unfold for the trio leading a bloody resolution!

Jackpot is a very unique film in its own right, its blend of shock humour continually surprises us throughout. In some ways with its scenario of the hapless idiot who stumbles across big money and the grizzly violence that ensues (a wood chipper scene thrown in for good measure) this could almost be the Norwegian version of Lock, Stock and Two Smoking Barrels. But in other ways it is like the flipside of Headhunters- but here we are thrown into a far seedier place where friendships come second to a bag of cash.

The opening scene sets the gruesome tone for the film. Four happy-go-lucky (and also very drunk) young men enter a strip club and are immediately blown to pieces by gun fire! This one moment sets off the chain events for luckless Oscar and is guaranteed to make you sit up and pay attention!

When the violence does arrive it both appals us and makes us laugh out loud. If you thought some of the violence in Headhunters was hardcore- then you haven’t seen anything yet! The villains in this piece like to get messy, in particular when they decide to dismember their dead friends corpse in the middle of Oscar’s living room and then have a furious debate about whether to slice him at the neck or the stomach? Claret is imminent here and expect it by the bucketful!

But the principle strength of Jackpot is in the continually twists and turns given to us by director Martens. We learn from a very early stage that Oscar is a very un-reliable narrator and that when a plausible scenario is played out to us that we must completely disregard everything we have seen. Throughout the film this effect keeps the audience hooked because we begin to wonder if this apparently law abiding citizen is really all he seems.

As the incident prone Oscar, Kyrre Hellum gives a great performance. His sheer humanity makes us initially care for Oscar and we hope that we will be found innocent. But as Jackpot goes on, Hellum gives his character an element of mystery to him. Because of this his true story remains in question until the final shot!

As his friend Thor, Mads Ousdal is also very engaging. Thor is a very aloof man who changes alliances like he changes his shirt, very soon Oscar is in trouble as a result! Arthur Berning also terrifies and charms us as recently paroled mad man Billy, a kid who can go from zero to crazy in the touch of a button. His un-predictability gives some of Jackpot’s most chest tightening moments!

It seems that Jo Nesbo’s thrillers are the new hot thing for European cinema at the moment and it doesn’t seem surprising as he is a writer capable of churning out solid stories. But it isn’t him that we extend our gratitude to here, it is the brilliant combination of Martens and Herrum that make this movie so memorable.

Jackpot is odds on to be one of the funniest foreign films from this year and I hope it can make cult status because with its stunning blend of laughs through violence it certainly deserves it! For a very different kind of viewing experience- check this out now. But always think before you place a bet, because you never know what consequences it can have!

I’m a Cyborg… But That’s Ok: Review of Robocop

Classic from the Vault

Robocop (1987)

Director: Paul Verhoeven

By Alex Watson

 

The world of Paul Verhoeven is a very interesting one, and at times it can be a very full on experience! The Dutch director has produced some varied results over the years starting with his well acclaimed war drama Soldier of Orange, to making the violently entertaining future film Total Recall, to full frontal nudity with Sharon Stone in Basic Instinct to finally US Marines battling massive bugs in the far off future in Starship Troopers. But it was a cyborg policeman, who was to give Verhoeven his biggest hit, blood sprays and the law is served in Robocop.

Set in futuristic Detroit, the city has now evaporated into a cesspit of crime and drugs and now it is pretty much a warzone! The city is controlled by giant corporation OCP who are planning to re-build Detroit into Delta City! Meanwhile veteran officer Alex Murphy (Peter Weller) has just transferred to a new rougher precinct, and is partnered with rookie officer Anne Lewis (Nancy Allen). On their first patrol Murphy is brutally murdered by arch villain Clarence Boddicker (Kurtwood Smith) and his gang! OCP realize that humans are becoming inadequate to enforce the law use Murphy’s remains to transform him into Robocop. Very soon a new presence is shaking up the streets!

Robocop is a good all fashion shoot ‘em up with a slice of a cop with a grudge thrown in for good measure. But more than anything it gave Paul Verhoeven free reign to explore his love of mayhem!  The final body count in Robocop stands at 30, more than many films of its kind! And when the death’s come the corpses are literally riddled with bullets! Although the effects may look cheap in today’s world, it still makes for a very entertaining piece.

But aside for the blood splatter, the film has a main character that we warm to. Alex Murphy is presented as a likable and decent man, so when Boddicker and co literally blow him to bits, our hearts sink! But when he is retooled as Robocop, we quickly realised that Murphy’s memories are intact and that his justice will be swift and twice as brutal.

But the real villains of the film are the corporation OCP, who are presented by Verhoeven as the tyrannical rulers of Detroit. They are company so keen on power that they have taken advantage of world that is out of control! OCP have also privatised the Police Force to make way for more robotic replacements and thus making more money! People’s lives come second to progress in the corporate world.

This notion is painfully demonstrated when the original robot model ED-209 malfunctions and fiercely kills a young executive during a board meeting! The president reprimands Dick Jones (Ronny Cox) not for the murder but because they will lose money because of the production delay! Verhoeven based OCP on the Nazi occupation of Holland during his childhood, this view of Totalitarian rule he would explore his feature Starship Troopers.

Although star Peter Weller spends most of his time behind an armoured suit, he is still an engaging presence and his early scenes with Nancy Allen are very heartfelt and we wish we could have seen more of Murphy before his demise. Ronny Cox makes for the perfect slime as suit wearing Jones; Cox would later play a similar role in Verhoeven’s Total Recall. But as the villain it’s Kurtwood Smith that has the most fun. As Boddicker he is perfectly insane, his sadistic love of mutilation make us open mouthed in shock, it is a shame that we haven’t seen him in similar role since.

Robocop by far Paul Verhoeven’s greatest work, his mixture of action and utter madness is the perfect blend for this futuristic battleground! After this film his work went downhill and it wasn’t until 2006 Dutch film The Black Book that he was finally redeemed. But for a reminder of how great his work can be then revisit a blood splattered classic, as Robocop would say “Thank you for your Cooperation!”

Teenage Dream: Review of Badlands

Classic from the Vault

Badlands (1973)

Director: Terrence Malick

By Alex Watson

 

When waiting for a Terrence Malick film to appear, one can be waiting rather a long time. And when they do come along, we take what we can get. The director has become something of an enigma in the world of cinema and since the 1970’s he has only made six films. Notably he took a 20 year hiatus from making his landmark film Days of Heaven in 1978 to his comeback in 1998 with The Thin Red Line. But what makes his films so notable? With Malick’s films they are always beautifully shot and there is always a dreamlike quality to all his features. But more than anything Malick is able to perfectly capture the beauty and brutality of youth in his pictures. Through this we got one of the best debut features of all time and one of the 1970’s great films in Badlands.

The film focuses on young teenager Holly (Sissy Spacek) who falls in love with rebel Kit (Martin Sheen), but when their romance is threatened by Holly’s stern father (Warren Oates), Kit shots him and the couple go on the run!  At first things seems idyllic as the couple find refuge at riverside hiding place, but soon bounty hunters find them. The couple then flee towards Canada and as they do Kit’s murderous spree begins to spiral out of control, which will lead them to a showdown in the Badlands in Montana!

Badlands is a very hypnotic feature, with stunning visuals by Malick. His use of natural light gives the film a very romantic feel and adds to the surreal quality of the film. As the film opens to Carl Orff’s ‘Gassenhauer’ it feels like we are entering a dream where everyone is fine and happy. But very soon the rug is smartly pulled from underneath! Malick’s juxtaposition of images is superbly demonstrated, for every lovely image, there is a corrupted one right next to it such as bullet riddled corpses and dead dogs.

But the most shocking aspect of the film is Malick’s casual representation of violence. Throughout the film he never glamorizes the path that Holly and Kit undertake. Through Spacek’s monotone narration gives Badlands an icy chill. As the couple go on the road, Holly narrates the beautiful, yet horrific events as if they are on some great adventure. Her naivety blinds her and when the killings start, rather than running a mile from her trigger happy boyfriend, she merely shuts it out and continues on.

The relationship between the two leads is very romantic but also very destructive. Their initial passion for one another gradually deteriorates as the bodies begin to stack up!  Kit is an intriguing character, a man who possesses a very dark edge, but yet is a charming young man. When Kit murders Holly’s father, he seems almost polite about it and asks him “Suppose I was to shoot you? How’d that be?” this effect makes his murders all the more frightening!

Performance wise Martin Sheen and Sissy Spacek give two mesmerising central turns. Spacek gives Holly a doe eyed innocence that draws us to her, as events transpire she seems to be de-sensitized to ensuing violence and we wonder what the affect effects will be. After this Spacek would go on to be a very in demand actress and from this performance it was well deserved. Martin Sheen gives one of his best performances as Kit. Based on killer Charles Starkweather, Kit is presented as cruel and evil child but who also believes in manners and courtesy. Through the film his actions grow more shocking but his humanity makes us almost feel sympathetic for him.

Badlands is the perfect place to begin your Malick education because it is one of the true classics for American cinema. His films always leave you engaged to the very end and his images portrayed are always memorable.  Badlands will remain his signature film and its cold yet beautiful feel will leave you thinking about it for days. We lie in wait for Malick’s next feature, the only question remains, how long will be this time?

Adrenaline Junkie: Review of The Raid

The Raid

Director: Gareth Evans

By Alex Watson

 

It’s always an amazing feeling to leave the cinema with a massive buzz from the great action film you have just witnessed. This kind of film makes for great viewing and always give you something to discuss for weeks afterwards. Films like Die Hard fit firmly into this category because they give us pure entertainment value. But in the last few years there hasn’t been an action film that has real left us totally astounded. Well Action fans can start celebrated again because we have found a film that more than fits the bill, Indonesian film, The Raid.

The Raid focuses on a rookie police officer Rama (Iko Uwais) who is involved in a raid on a high rise Jakarta building which is home to drug lord Tama (Ray Sahetapy). For years Tama has held this part of town in the palm of his hand, and now the cops are determined to bring him down. Initially the raid is a success but then the word gets out the cops are in the building! In response Tama battens down the hatches and makes sure the cops are trapped with no escape! Rama is now faced with fighting his way out, even though he knows that all 30 floors are filled with blood thirsty killers!

The high octane feel of The Raid is present from the very start and this is a feeling that never relents! For the first in years we have an action film that delivers exactly what it promises- fast paced action where the audience has to fight to catch its breath! During the fight scenes this effect comes into play, particular when star Uwais fights with a baddie whilst falling from three storeys above! This how action films are made and director Gareth Evans has put this one up with the very best!

Although the plot might seem formulaic- cops against bad guys armed to the teeth with guns, it’s the tight and claustrophobic feeling that keeps us hooked! After a calm and slow build up, the film goes into overdrive when the cop’s presence is discovered! From there it becomes a chest tightening experience- particularly as we know there is nowhere for them to run! There are the usual twists and turns to keep us connected to the plot, but after the constant adrenaline you will feel grateful for the rest!

Perhaps the most surprising thing of this Asian film is that it was directed by a Welshman! Gareth Evans has now announced himself to the world stage and he has given us one of the films of 2012! Through his jerky and uneven camera movement he leaves us constantly breathless! In The Raid he brings across a polished western feel, this brings the film above the normal cut and paste action thrillers of recent years, all the while still preserving the manic feel of Asian cinema.

But the biggest find in The Raid is star Ido Uwais, who was discovered working as a delivery man in Indonesia by Evans in 2007 while he was making a documentary. Well it seems he was a great find because we have a fascinating new action star on our hands. As Rama he is effortlessly cool, but has a great human side to him in his quiet moments. All the way through his martial art skills leave us open mouthed! Especially during the final double attack sequence on henchman Mad Dog (Yayan Ruhian), which is seemingly destined for cult fight scene status!

This year you will be hard pressed to find a better and more entertain action film than The Raid! The mass critical acclaim on the film festival circuit proves this. Both Evans and Uwais make a brilliant combination together and I cannot wait for the sequel for this to materialize.  I can confidently predict this will be high up on my films of the year list! But be warned your heart might stop any given point!